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They also called them espresso bars and bean grinders. And she loves grunge music and the guys who make it.
Janet is one of the characters in Cameron Crowe’s 1992 ode to mid-twenties malaise, centered around the strain of modern dating: kind of started it all. But then there’s that ever-present whisper in your ear telling you that you have to keep working, to keep putting yourself out there, that anything that’s really worth anything in life doesn’t come easy.
[TRUFAX SIDE NOTE: The soundtrack is the only thing 95% of the population remembers about this movie. Disgusting, annoying, whiny single-people feelings. is about people on the edge between youth and adulthood. The movie tells the tale of what it’s like to have a job and be ostensibly independent but still searching for that greater purpose, the one you’re supposed to find and embrace. But that whisper also says that the definition of insanity is to do the same thing over and over again and expect different results. Maybe that period between 20 and 30 is really just a period of constant insanity. She then goes out and books herself an appointment with a plastic surgeon for a breast augmentation.
Take a poll of your friends and see if anybody could tell you that it featured Kyra Sedgwick in one of her first roles. Fifty years ago, this movie would have been more appropriate in the period between high school and college, but as recently as the early 90s, Generation X (perpetuated by Y, and soon Z–or whatever kids these days are called) decided, Hey! About going out to bars and gigs, bopping your head to the music while acting like you don’t care and looking across the room at the guy with those eyes (and oh, what dreamy eyes! And in that split second as you’re looking at him, you, trained by all of those years of watching all of those horrible Hollywood movies with the pat-resolutions and the triumph and the struggle and the lightning sent from heaven above, wonder, “Is this it? ” And then you avert your eyes because, “What if it is? You’re looking for the perfect situation to call your own. You keep moving forward as best you can, you keep trying to shove square pegs in round holes, and you keep dating the same unsuitable suitors that have always failed you. And it’s not really all his fault, she’s putting herself through this mental tailspin of desperation where walking away early on would have saved herself a whole lot of trouble. Here Crowe seems to tell us that the people we like have no bearing on whether or not they are good for us, or if we should even be with them. It is a quest for approval, not for a functional relationship.
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Not a “diner-coffee shop” like you’d see in a Quentin Tarantino movie, but a coffeehouse-coffee shop.
You know, a shop that, um, sells coffee: a creation so novel in the early-90s that they called it a . She’s 23 and she wants to go to school for architecture one of these days.
Ask them if they remembered that the movie featured Paul Giamatti, Jeremy Piven, Bill Pullman or the guy that played Prezbo on in bit parts. And Cameron Crowe, the man behind - a movie that merged a fringe music scene with a big Hollywood movie. ” And then, a moment later, “What if I’m not ready for him? This is the time of your life to enjoy all the freedom the world has to offer! And the thing is, for most people, this is not easy. Your twenties may very well be the most dangerous and (literally! This truth—this feeling of failure and trial and struggling—takes up the first two-thirds of . “We made the connection, and when you make the connection, the chemistry takes care of itself. ” She debates with herself as to whether or not she should call him, she excuses his behavior when he stands her up, and she subsists on a diet of cucumbers and lettuce in order to be attractively thin… For a guy named Cliff with stringy hair in a fledgling rock band called Citizen Dick, a guy who won’t commit to her! At the height of this pursuit, she notices that he has pictures of big-bosomed women plastered all over the walls of his apartment. Eventually she tames these urges and comes to her senses, not without the help of her plastic surgeon (Bill Pullman) who happens to inexplicably have a crush on her.